"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

published:04 Mar 2016

views:1406

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

published:14 Jan 2010

views:4907

published:28 Jul 2013

views:5363

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

http://www.tiagobenzinho.com A video from the documentary film "Megacities" directed by Michael Glawogger. Music used from Tiago Benzinho entitled "Lonely Londoners" from the album "One", download at:
http://tiagobenzinho.bandcamp.com/album/one
other links:
http://www.tiagobenzinho.com/
http://www.facebook.com/pages/Tiago-Benzinho/137530209599127
http://www.myspace.com/tiagobenzinho

Death

Four days after incorrectly being diagnosed with typhus, he died from malaria on 22 April 2014 shortly before midnight in Monrovia, Liberia during a movie production.

In 2013, Glawogger contributed one chapter to "Cathedrals of Culture", a 3-D film on architecture produced by Wim Wenders. In February of 2015, a book of stories entitled 69 Hotel Zimmer was released. The stories used hotel rooms Glawogger had visited (or in some cases only heard about in passing) as a departure for stories that reflect the visual richness for which his films are celebrated.

Michael

Michael/ˈmaɪkəl/ is a male given name that comes from the Hebrew:מִיכָאֵל / מיכאל‎ (Mīkhāʼēl, pronounced [miχaˈʔel]), derived from the question מי כאל mī kāʼēl, meaning "Who is like God?" (literally, "Who is like El?). In English, it is sometimes shortened to Mike, Mikey, Mickey, or Mick.

Female forms of Michael include Michelle, Michele, Michaela, Mechelle, Micheline, and Michaelle, although Michael is occasionally seen as a female name; women named Michael include actresses Michael Learned and Michael Michele. Another form is Mychal, which can either be a male or female name.

The film is composed of six differently titled chapters. The first five depict hazardous conditions of hard laborers around the world and the sixth shows contrasting scenes of youths in a former German industrial complex which had been converted into a leisure park:

Reception

The film was met with a largely positive critical reception with a 73% approval rating reported by Rotten Tomatoes as of March 2011, with several critics praising its visual feel. Walter Addiego of the San Francisco Chronicle' wrote that "Despite the hardships depicted, many sequences have a dreamlike beauty. In addition, the director has a bone-dry sense of irony; during the Ukraine scenes, he frequently cuts away to a statue of Stakhanov, the "hero" lauded by the Soviets for his superhuman work habits".

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

10:21

Michael Glawogger - Documentary & Fiction

Michael Glawogger - Documentary & Fiction

Michael Glawogger - Documentary & Fiction

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

UNTITLED (Michael Glawogger & Monika Willi, 2017) | Now on MUBI

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

Megacities - directed by Michael Glawogger

http://www.tiagobenzinho.com A video from the documentary film "Megacities" directed by Michael Glawogger. Music used from Tiago Benzinho entitled "Lonely Londoners" from the album "One", download at:
http://tiagobenzinho.bandcamp.com/album/one
other links:
http://www.tiagobenzinho.com/
http://www.facebook.com/pages/Tiago-Benzinho/137530209599127
http://www.myspace.com/tiagobenzinho

Michael Glawogger - His Process

Part three of the masterclass with Michael Glawogger.
Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

4:20

Interview with Featured Filmmaker Michael Glawogger at the 2010 Flaherty Seminar

Interview with Featured Filmmaker Michael Glawogger at the 2010 Flaherty Seminar

Interview with Featured Filmmaker Michael Glawogger at the 2010 Flaherty Seminar

The Flaherty is a nonprofit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration, dialogue, and introspection about the art and craft of all forms of the moving image. The Flaherty was established in 1960 to present the annual Robert Flaherty Film Seminar. The seminar remains the central and defining activity of The Flaherty.
Through its unique annual Robert Flaherty Film Seminar, The Flaherty provides media makers, users, teachers, and students an unparalleled opportunity to confront the core of the creative process, reaffirm the freedom of the independent artist to explore beyond known limits, and renew the challenge to discover, reveal, and illuminate the ways of life of peoples and cultures throughout the world.

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose ...

published: 04 Mar 2016

Michael Glawogger - Documentary & Fiction

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
...

UNTITLED (Michael Glawogger & Monika Willi, 2017) | Now on MUBI

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

Megacities - directed by Michael Glawogger

http://www.tiagobenzinho.com A video from the documentary film "Megacities" directed by Michael Glawogger. Music used from Tiago Benzinho entitled "Lonely Londoners" from the album "One", download at:
http://tiagobenzinho.bandcamp.com/album/one
other links:
http://www.tiagobenzinho.com/
http://www.facebook.com/pages/Tiago-Benzinho/137530209599127
http://www.myspace.com/tiagobenzinho

Michael Glawogger - His Process

Part three of the masterclass with Michael Glawogger.
Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fic...

published: 14 Jan 2010

Interview with Featured Filmmaker Michael Glawogger at the 2010 Flaherty Seminar

The Flaherty is a nonprofit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration, dialogue, and introspection about the art and craft of all forms of the moving image. The Flaherty was established in 1960 to present the annual Robert Flaherty Film Seminar. The seminar remains the central and defining activity of The Flaherty.
Through its unique annual Robert Flaherty Film Seminar, The Flaherty provides media makers, users, teachers, and students an unparalleled opportunity to confront the core of the creative process, reaffirm the freedom of the independent artist to explore beyond known limits, and renew the challenge to discover, reveal, and illuminate the ways of life of peoples and cultures throughout ...

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook ...

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

http://www.tiagobenzinho.com A video from the documentary film "Megacities" directed by Michael Glawogger. Music used from Tiago Benzinho entitled "Lonely Londoners" from the album "One", download at:
http://tiagobenzinho.bandcamp.com/album/one
other links:
http://www.tiagobenzinho.com/
http://www.facebook.com/pages/Tiago-Benzinho/137530209599127
http://www.myspace.com/tiagobenzinho

http://www.tiagobenzinho.com A video from the documentary film "Megacities" directed by Michael Glawogger. Music used from Tiago Benzinho entitled "Lonely Londoners" from the album "One", download at:
http://tiagobenzinho.bandcamp.com/album/one
other links:
http://www.tiagobenzinho.com/
http://www.facebook.com/pages/Tiago-Benzinho/137530209599127
http://www.myspace.com/tiagobenzinho

Part three of the masterclass with Michael Glawogger.
Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

Part three of the masterclass with Michael Glawogger.
Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

Interview with Featured Filmmaker Michael Glawogger at the 2010 Flaherty Seminar

The Flaherty is a nonprofit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster explorati...

The Flaherty is a nonprofit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration, dialogue, and introspection about the art and craft of all forms of the moving image. The Flaherty was established in 1960 to present the annual Robert Flaherty Film Seminar. The seminar remains the central and defining activity of The Flaherty.
Through its unique annual Robert Flaherty Film Seminar, The Flaherty provides media makers, users, teachers, and students an unparalleled opportunity to confront the core of the creative process, reaffirm the freedom of the independent artist to explore beyond known limits, and renew the challenge to discover, reveal, and illuminate the ways of life of peoples and cultures throughout the world.

The Flaherty is a nonprofit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration, dialogue, and introspection about the art and craft of all forms of the moving image. The Flaherty was established in 1960 to present the annual Robert Flaherty Film Seminar. The seminar remains the central and defining activity of The Flaherty.
Through its unique annual Robert Flaherty Film Seminar, The Flaherty provides media makers, users, teachers, and students an unparalleled opportunity to confront the core of the creative process, reaffirm the freedom of the independent artist to explore beyond known limits, and renew the challenge to discover, reveal, and illuminate the ways of life of peoples and cultures throughout the world.

Untitled / Michael Glawogger 2017 / Austria

UNTITLED (Michael Glawogger & Monika Willi, 2017) | Now on MUBI

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

Untitled - Trailer

"I want to give a view of the world that can only emerge by not pursuing any particular theme, by refraining from passing judgment, proceeding without aim. Drifting with no direction except one’s own curiosity and intuition.” (Michael Glawogger)After the sudden death of Michael Glawogger in April 2014, his longstanding collaborator and editor Monika Willi realizes a film out of the footage Glawogger shot over the course of 4 months and 19 days in the Balkans, Italy, North and West Africa. A journey out into the world with open eyes and open mind - observing, listening, experiencing. Serendipity is the concept and the only rule to apply - in editing and creating the film just as it was in shooting it.

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose ...

CATHEDRALS OF CULTURE
A film project in 3D about the soul of buildings
Clip KARIM AINOUZ: Centre Pompidou -- Paris, France
"If buildings could talk, what would they say about us?"
CATHEDRALS OF CULTURE offers six startling responses. This 3D film project about the soul of buildings allows six iconic and very different buildings to speak for themselves, examining human life from the unblinking perspective of a manmade structure. Six acclaimed filmmakers bring their own visual style and artistic approach to the project. Buildings, they show us, are material manifestations of human thought and action: the Berlin Philharmonic, an icon of modernity; the National Library of Russia, a kingdom of thoughts; Halden Prison, the world's most humane prison; the Salk Institute, an institute for breakt...

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

Untitled - Trailer

"I want to give a view of the world that can only emerge by not pursuing any particular theme, by refraining from passing judgment, proceeding without aim. Drif...

"I want to give a view of the world that can only emerge by not pursuing any particular theme, by refraining from passing judgment, proceeding without aim. Drifting with no direction except one’s own curiosity and intuition.” (Michael Glawogger)After the sudden death of Michael Glawogger in April 2014, his longstanding collaborator and editor Monika Willi realizes a film out of the footage Glawogger shot over the course of 4 months and 19 days in the Balkans, Italy, North and West Africa. A journey out into the world with open eyes and open mind - observing, listening, experiencing. Serendipity is the concept and the only rule to apply - in editing and creating the film just as it was in shooting it.

"I want to give a view of the world that can only emerge by not pursuing any particular theme, by refraining from passing judgment, proceeding without aim. Drifting with no direction except one’s own curiosity and intuition.” (Michael Glawogger)After the sudden death of Michael Glawogger in April 2014, his longstanding collaborator and editor Monika Willi realizes a film out of the footage Glawogger shot over the course of 4 months and 19 days in the Balkans, Italy, North and West Africa. A journey out into the world with open eyes and open mind - observing, listening, experiencing. Serendipity is the concept and the only rule to apply - in editing and creating the film just as it was in shooting it.

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook ...

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

CATHEDRALS OF CULTURE
A film project in 3D about the soul of buildings
Clip KARIM AINOUZ: Centre Pompidou -- Paris, France
"If buildings could talk, what would they say about us?"
CATHEDRALS OF CULTURE offers six startling responses. This 3D film project about the soul of buildings allows six iconic and very different buildings to speak for themselves, examining human life from the unblinking perspective of a manmade structure. Six acclaimed filmmakers bring their own visual style and artistic approach to the project. Buildings, they show us, are material manifestations of human thought and action: the Berlin Philharmonic, an icon of modernity; the National Library of Russia, a kingdom of thoughts; Halden Prison, the world's most humane prison; the Salk Institute, an institute for breakthrough science; the Oslo Opera House, a futuristic symbiosis of art and life; and the Centre Pompidou, a modern culture machine. CATHEDRALS OF CULTURE explores how each of these landmarks reflects our culture and guards our collective memory.
WIM WENDERS: Berlin Philharmonic -- Berlin, GermanyMICHAEL GLAWOGGER: National Library - St. Petersburg, Russia
MICHAEL MADSEN: Halden Prison -- Halden, Norway
ROBERT REDFORD: Salk Institute -- La Jolla, California, USA
MARGRETH OLIN: Opera House -- Oslo, Norway
KARIM AINOUZ: Centre Pompidou -- Paris, France

CATHEDRALS OF CULTURE
A film project in 3D about the soul of buildings
Clip KARIM AINOUZ: Centre Pompidou -- Paris, France
"If buildings could talk, what would they say about us?"
CATHEDRALS OF CULTURE offers six startling responses. This 3D film project about the soul of buildings allows six iconic and very different buildings to speak for themselves, examining human life from the unblinking perspective of a manmade structure. Six acclaimed filmmakers bring their own visual style and artistic approach to the project. Buildings, they show us, are material manifestations of human thought and action: the Berlin Philharmonic, an icon of modernity; the National Library of Russia, a kingdom of thoughts; Halden Prison, the world's most humane prison; the Salk Institute, an institute for breakthrough science; the Oslo Opera House, a futuristic symbiosis of art and life; and the Centre Pompidou, a modern culture machine. CATHEDRALS OF CULTURE explores how each of these landmarks reflects our culture and guards our collective memory.
WIM WENDERS: Berlin Philharmonic -- Berlin, GermanyMICHAEL GLAWOGGER: National Library - St. Petersburg, Russia
MICHAEL MADSEN: Halden Prison -- Halden, Norway
ROBERT REDFORD: Salk Institute -- La Jolla, California, USA
MARGRETH OLIN: Opera House -- Oslo, Norway
KARIM AINOUZ: Centre Pompidou -- Paris, France

Megacities (Documentary genio's 1998)

This documentary deals with work, poverty, violence, love and sex. A film about human beauty in twelve chapters which tells the tales of people from Bombay, Mexico City, Moscow and New York, who are all struggling
for survival, with ingenuity, intelligence and dignity. They all share the dream of a better life.

Megacities (Documentary genio's 1998)

This documentary deals with work, poverty, violence, love and sex. A film about human beauty in twelve chapters which tells the tales of people from Bombay, Mex...

This documentary deals with work, poverty, violence, love and sex. A film about human beauty in twelve chapters which tells the tales of people from Bombay, Mexico City, Moscow and New York, who are all struggling
for survival, with ingenuity, intelligence and dignity. They all share the dream of a better life.

This documentary deals with work, poverty, violence, love and sex. A film about human beauty in twelve chapters which tells the tales of people from Bombay, Mexico City, Moscow and New York, who are all struggling
for survival, with ingenuity, intelligence and dignity. They all share the dream of a better life.

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

10:21

Michael Glawogger - Documentary & Fiction

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does ...

Michael Glawogger - Documentary & Fiction

Born in Graz, Austria, in 1959, Michael Glawogger is a traveling filmmaker. Not only does he literally journey around the world for his documentaries, he also moves back and forth between forms and genres, between photography and writing, between gentler and more forceful tones.
He graduated from the San Francisco Art Institute and the ViennaFilmAcademy and has since worked as a director, writer, and cinematographer in Vienna, Bangkok, and Znojmo. He plans to shoot in Poland and Bangladesh in the near future.
He has so far remained a maverick figure in the burgeoning Austrian film scene of the last decade and generally shoots on film, a fact that has probably less to do with his effortless back-and-forth between documentary and fiction than with his unique, free-spirited sensibility.
Documentaries:
A Workingman's Death
Megacities
War in Vienna
Fiction:
SlummingSlugs

UNTITLED (Michael Glawogger & Monika Willi, 2017) | Now on MUBI

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

9:22

MICHAEL GLAWOGGER on TRAVELLING - cine-fils.com

His feature films deal with journeys and trips, his documentaries wouldn't be possible wit...

Megacities - directed by Michael Glawogger

http://www.tiagobenzinho.com A video from the documentary film "Megacities" directed by Michael Glawogger. Music used from Tiago Benzinho entitled "Lonely Londoners" from the album "One", download at:
http://tiagobenzinho.bandcamp.com/album/one
other links:
http://www.tiagobenzinho.com/
http://www.facebook.com/pages/Tiago-Benzinho/137530209599127
http://www.myspace.com/tiagobenzinho

Death

Four days after incorrectly being diagnosed with typhus, he died from malaria on 22 April 2014 shortly before midnight in Monrovia, Liberia during a movie production.

In 2013, Glawogger contributed one chapter to "Cathedrals of Culture", a 3-D film on architecture produced by Wim Wenders. In February of 2015, a book of stories entitled 69 Hotel Zimmer was released. The stories used hotel rooms Glawogger had visited (or in some cases only heard about in passing) as a departure for stories that reflect the visual richness for which his films are celebrated.

Earlier this week, MichaelFynn Jr.—son of US ArmyLieutenant GeneralMichael Flynn—mysteriously warned “You’re all going down” on Twitter. On Wednesday, Flynn Jr. issued a more specific prophecy of doom, this time directed at former-FBI director James Comey. “Comey is going ... The post Michael Fynn Jr. issues another dark prophecy. ‘Comey is going down’ appeared first on Raw Story ... ....

GeorgeMichael’s ex-bandmate, Andrew Ridgeley, has said he would like to see a permanent memorial to the late star ... Earlier this month, Michael’s family asked fans to remove their tributes from outside the Careless Whisper singer’s former homes....

UNTITLED (Michael Glawogger & Monika Willi, 2017) | Now on MUBI

On MUBI from Feb 9: http://mubi.io/2EleQKF
“The most beautiful film I could imagine is one which would never come to rest," said Michael Glawogger of this epic, free-floating documentary project—but malaria struck him down during shooting. Monica Willi, his and Haneke’s editor, crafted the final, global vision, made of extraordinary footage.

Untitled - Trailer

"I want to give a view of the world that can only emerge by not pursuing any particular theme, by refraining from passing judgment, proceeding without aim. Drifting with no direction except one’s own curiosity and intuition.” (Michael Glawogger)After the sudden death of Michael Glawogger in April 2014, his longstanding collaborator and editor Monika Willi realizes a film out of the footage Glawogger shot over the course of 4 months and 19 days in the Balkans, Italy, North and West Africa. A journey out into the world with open eyes and open mind - observing, listening, experiencing. Serendipity is the concept and the only rule to apply - in editing and creating the film just as it was in shooting it.

Megacities - Michael Glawogger (1998)

"This film reject standard documentary conventions, such as the use of voiceovers and a strict narrative arc; yet they ultimately offer, through their flipbook storytelling structure, a coherent narrative of a world in flux, buffeted by unseen forces of globalization.
Glawogger noticeably restages many scenes in Megacities, and while some shots were staged due to logistical reasons (for instance, hiring extras for a scene inside a train carriage since there were too many bystanders in the way), other shots were so fantastical in their intimacy that they require a conscious suspension of disbelief. Two particular scenes, both involving Tony the New York hustler, are particularly salient to the degree that they were staged.
The first involves Tony hustling a young 20-somethings man, whose eyes dart every which way in suspicion-but never in the direction of the camera. The target is led to believe that for $60, he can have an hour “to do anything you want” with a prostitute. The camera follows him up the stairs to the prostitute’s alleged room, where a gruff stranger (a man, no less) answers the door and promptly slams it in his face.
This scene stretches the imagination: why did the target never question the presence of the camera, or acknowledge it? Why didn’t he display any emotions after finding out he had been hustled, or direct his anger to the cameraman, for that matter? The cognitive dissonance resolves itself once the viewer realizes Glawogger hired the target, albeit without telling him the exact context of the gig. “So, to a degree, those people also didn’t know what was going to happen. And it almost looks like what it looked like when I saw him really do it,” explains Glawogger.
The second, more controversial scene, involves Tony once again hustling a man, this time someone slightly older and of Persian descent. The two go up to a room, where both Tony and the target completely undress. As they are about to have sex, Tony pulls out a box-cutter and mugs the man; in the process, he smacks him on the head in intimidation.
This scene pushes the limits of what one would consider a documentary (and one reason you should go watch the film). Granted, such intimacy is logistically impossible to film, as Glawogger elaborates, “If you’re in a small room and somebody robs some other preson or even if there’s a private conversation between a couple, that’s not, in that sense, ‘documentary’ filmmaking-that even though you’re there it will happen anyway.” Thus, the resulting image fulfills the voyeuristic urge of a viewer in a similar, but more corporeal manner than that of a fiction biopic of a New York hustler.
Although we witness Tony hustling his marks, in another sense, we see Glawogger hustling Tony. Here, Glawogger subverts the traditional role of the documentary filmmaker as one who assigns, rather than records, the dynamics of social actors within his gaze. Ironically, the most powerful scene from this story, and possibly the film, is unscripted: the sight of Tony, high on heroin and splayed out on a couch, ranting on about the realities of his life. Although his words are visceral, the very image of this hustler at his most vulnerable, with eyes drooping under the lull of a drug addiction and his bare chest drenched in sweat, says more about the human condition and his alienation in this urban jungle than any of the staged scenes. The section on Tony ends here as he drifts off, mid-speech, into a drug-laced stupor."

Megacities (Documentary genio's 1998)

This documentary deals with work, poverty, violence, love and sex. A film about human beauty in twelve chapters which tells the tales of people from Bombay, Mexico City, Moscow and New York, who are all struggling
for survival, with ingenuity, intelligence and dignity. They all share the dream of a better life.

Earlier this week, MichaelFynn Jr.—son of US ArmyLieutenant GeneralMichael Flynn—mysteriously warned “You’re all going down” on Twitter. On Wednesday, Flynn Jr. issued a more specific prophecy of doom, this time directed at former-FBI director James Comey. “Comey is going ... The post Michael Fynn Jr. issues another dark prophecy. ‘Comey is going down’ appeared first on Raw Story ... ....

GeorgeMichael’s ex-bandmate, Andrew Ridgeley, has said he would like to see a permanent memorial to the late star ... Earlier this month, Michael’s family asked fans to remove their tributes from outside the Careless Whisper singer’s former homes....

Michael Rotondo's parents suing to get him evicted from their home is opening the door for the 30-year-old to get a job, right alongside the likes of Farrah Abraham...Michael would get $1,000/month for up to 6 months, if he accepts....

Emmerdale star MichaelParr has quit the soap after reportedly growing tired of his character RossBarton's dark storylines ...Taking to social media on Wednesday night Michael confirmed the news by saying....

MichaelCarrick officially called time on his playing career at the end of the 2017/18 season, bringing down the curtain on 12 glorious years at Manchester United...Looking back over his time in a United shirt, here are Michael Carrick's nine finest momentsCarrick joined United off the back of a fine 2005/06... ....

The tale of Michael Rotondo, the 30-year-old man whose parents took him to court to evict him after he refused to get a job or help around the house, is by all accounts the tale of a deadbeat — but who is at fault? Rotondo’s parents gave him five notices that they were evicting him after he li......